Paradigms – serie

The logic of modernity is an ironical logic. Modern irony, a flash of genius produced by Romantic theorists, is first discussed, e.g. in Hegel and Kierkegaard, as an ethical problem personified in figures such as the aesthete, the seducer, the flaneur, or the dandy. It fully develops in the novel, the modern genre par excellence: in novels of the early 19th century no less than in those of postmodernity or in those of the masters of citation, parody, and pastiche of classical modernism (Musil, Joyce, and Proust). This book, however, goes one step further. Looking at how such different authors as Schmitt, Kafka, and Rorty identify the political conflicts, contradictions, and paradoxes of the 20th century as ironical and offers a comprehensive account of the constitutive irony of modernity’s ethical, poetical, and political logic.

One of the most contentious questions in contemporary literary studies is whether there can ever be a science of literature that can lay claim to objectivity and universality, for example by concentrating on philological criticism, by appealing to cognitive science, or by exposing the underlying media of literary communication. The present collection of essays seeks to open up this discussion by posing the question’s historical and systematic double: has there been a science of literature, i.e. a mode of presentation and practice of reference in science that owes its coherence to the discourse of literature? Detailed analyses of scientific, literary and philosophical texts show that from the late 18th to the late 19th century science and literature were bound to one another through an intricate web of mutual dependence and distinct yet incalculable difference. The Science of Literature suggests that this legacy continues to shape the relation between literary and scientific discourses inside and outside of academia.

How can we develop a cultural theory starting with the basic insight that human beings are "storytelling animals"? Within literary studies, narratology is a highly developed field. However, literary historians have not paid much attention to the large and small stories abounding in everyday discourse, guiding all kinds of social activity, and providing common ground for whole societies—but also fueling controversies and hostilities. Moreover, "narrative" is not only a scholarly category but has come into use in many fields of social activity as a tool for cultural self-fashioning. This book is based on the assumption that to a large extent, social dynamics is modeled in an aesthetic manner via narratives. It explores the narrative organization of cultural spaces and time-frames, the mythological shaping of communities and adversaries, and the co-production of narratives and institutions aimed at stabilizing social life. In this framework, the epistemological problem looms large of how an instrument as unreliable as narrative can participate in the creation of a social consensus regarding truth. This problem endows the general topics explored in this book with a particularly contemporary dimension.

How are we to think of satire if it has ceased to exist as a discrete genre? This study proposes a novel solution, understanding the satiric in the postwar era as a set of writing practices: figures of inversion, myth-making, and citation. By showing how writers and theorists alike deploy these devices in new contexts, this book reexamines the link between German postwar writing and the history of satire, and between literature and theory.

We all dream; we all share these strange experiences that infuse our nights. But we only know of those nightly adventures when we decide to represent them. In the long history of coming to terms with dreams there seem to be two different ways of delineating our forays into the world of the unconscious: One is the attempt of interpreting, of unveiling the hidden meaning of dreams. The other one is not so much concerned with the relation of dream and meaning, of dream and reality, it rather concentrates on trying to find means of representation for this extremely productive force that determines our sleep. The essays collected in this book explore both attempts. They follow debates in philosophy and psychoanalysis and they study literature, theatre, dance, film, and photography.

Productive Digression is a translation of the ancient term poetics: as a practice of theory. The products produced in the mode of poiesis are ‘digressive’ in that they operate off track; they resist the main stream of every day prose. They do so for various reasons and in various respects. Mostly, they are explained historically, relative to historical contexts and, that is, contrary to what they are meant to resist. Instead, this book investigates the modes of resistance, their epistemology of production, in short, the logic of digression. The method addresses the singular exemplarity of art and literature; it elucidates the impact of poiesis as an epistemological challenge and redefines the analysis of literature and art as branches of an Historical Epistemology. Proceeding from the state of affairs in 20th century criticism and aesthetics (Benjamin, Adorno, Blumenberg, Merleau-Ponty), the epistemology of representation (Whitehead, Canguilhem, Bachelard, Rheinberger) is revised in, and with respect to critical consequences (Derrida, Marin, de Man, Agamben). From literary criticism and critical legal studies to the scenario of the life sciences, the essays collected here redirect the logic of research towards the epistemological grounds of an aesthetics underneath the hermeneutics of every day life.

How does literature evoke reality? This book takes cues from the history of scientific observation to provide a new approach to this longstanding question of literary studies. It reconstructs a narrative technique of ‘literary’ observation in which reality appears by mimicking processes of visual perception, and it traces the functioning of this technique through a wide range of European fiction from the early 18th to the late 19th centuries.

Is justice only achievable by means of bureaucratization or might it first arrive with the end of bureaucracy? Bureaucratic Fanatics shows how this ever more contentious question in contemporary politics belongs to the political-theological underpinnings of bureaucratization itself. At the end of the 18th century, a new and paradoxical kind of fanaticism emerged - rational fanaticism - that propelled the intensive biopolitical management of everyday life in Europe and North America as well as the extensive colonial exploitation of the earth and its peoples. These excesses of bureaucratization incited in turn increasingly fanatical forms of resistance. And they inspired literary production that provocatively presented the outrageous contours of rationalization. Combining political theory with readings of Kleist, Melville, Conrad, and Kafka, this genealogy of bureaucratic fanaticism relates two extreme figures: fanatical bureaucrats driven to the ends of the earth and to the limits of humanity by the rationality of the apparatuses they serve; and peculiar fanatics who passionately, albeit seemingly passively, resist the encroachments of bureaucratization.

Sea fortune has always been an issue of good faith and good navigation. While in antiquity, fortuna gubernatrix was praised for shielding the seaborne trade, in the Renaissance fortuna symbolized the conquest of chance and danger. Under such auspices, while relying on risk technologies modern seafaring has never lost its adventurous dimension. Understanding their origin remains a challenge for the history of science and the history of literature.

Alexander Gottlieb Baumgarten (1714–1762) is known in intellectual history for having established the discourse of philosophical aesthetics with his "Meditationes philosophicae de nonnullis ad poema pertinentibus" (Reflections on Poetry) and "Aesthetica" (Aesthetics), which consists of two books and is considered Baumgarten’s most important work. But this book amends that history. It shows that Baumgarten's aesthetics is a science of literature that demonstrates the value of literature to philosophy. Baumgarten did not intend to pursue such a task, but in working on his philosophical texts and lectures, he ends up analyzing, synthesizing, and contextualizing literature. He thereby treats it not as belles lettres or as a moral institution but rather as an epistemic object. His aesthetics is thus the first modern literary theory, and his articulation of this theory would never again be matched in its complexity and systematicity. Baumgarten’s theory of literature has never been discovered. It waits latently to take its place in intellectual history.

At the intersection of literary theory, philosophy of history and phenomenology, Arts of Connection: Poetry, History, Epochality explores the representation of connections between events in literary, historical and philosophical narratives. Events in a story can be seen as ordered according to proximate causation, which leads diachronically from one event to the next; and they can also be understood in view of the structure of the narrative as a whole – for instance in terms of the unity of plot. Feldman argues that there exists an essential narrative tension between these two kinds of connection, i.e. between the overarching arrangement or plot that holds together events from "outside," as it were, in order to produce an intelligible whole; and the portrayal of one-by-one, "interstitial" connections between events within the narrative. Arts of Connection demonstrates, by means of exemplary moments in Aristotle and classical German poetics, eighteenth-century philosophy of history, and twentieth-century phenomenology, that the task of connection is a fraught one, insofar as the formal unity of narrative competes or interferes with the representation of one-by-one connections between events, and vice versa.

This book examines two mid-nineteenth century thinkers – the Austrian writer Adalbert Stifter and the French architect Eugène E. Viollet-le-Duc – who imagined cultural history on the model of earth history: as a history of objects to be restored and worlds to be reconstructed. The nascent field of geology shaped cultural thought; their conservationism, informed by erosion, envisions a future of restorative renewal.

This book examines the discourse on ‘primitive thinking’ in early twentieth century Germany. It explores texts from the social sciences, writings on art and language and – most centrally – literary works by Robert Musil, Walter Benjamin, Gottfried Benn and Robert Müller, focusing on three figurations of alterity prominent in European primitivism: indigenous cultures, children, and the mentally ill.

Is justice only achievable by means of bureaucratization or might it first arrive with the end of bureaucracy? Bureaucratic Fanatics shows how this ever more contentious question in contemporary politics belongs to the political-theological underpinnings of bureaucratization itself. At the end of the 18th century, a new and paradoxical kind of fanaticism emerged - rational fanaticism - that propelled the intensive biopolitical management of everyday life in Europe and North America as well as the extensive colonial exploitation of the earth and its peoples. These excesses of bureaucratization incited in turn increasingly fanatical forms of resistance. And they inspired literary production that provocatively presented the outrageous contours of rationalization. Combining political theory with readings of Kleist, Melville, Conrad, and Kafka, this genealogy of bureaucratic fanaticism relates two extreme figures: fanatical bureaucrats driven to the ends of the earth and to the limits of humanity by the rationality of the apparatuses they serve; and peculiar fanatics who passionately, albeit seemingly passively, resist the encroachments of bureaucratization.

How does the entrance of a character on the tragic stage affect their visibility and presence? Beginning with the court culture of the seventeenth century and ending with Nietzsche’s Dionysian theater, this monograph explores specific modes of entering the stage and the conditions that make them successful—or cause them to fail. The study argues that tragic entrances ultimately always remain incomplete; that the step figures take into visibility invariably remains precarious. Through close readings of texts by Racine, Goethe, and Kleist, among others, it shows that entrances promise both triumph and tragic exposure; though they appear to be expressions of sovereignty, they are always simultaneously threatened by failure or annihilation. With this analysis, the book thus opens up possibilities for a new theory of dramatic form, one that begins not with the plot itself but with the stage entrance that structures how characters appear and thus determines how the plot advances. By reflecting on acts of entering, this book addresses not only scholars of literature, theater, media, and art but anyone concerned with what it means to appear and be present.

At the intersection of literary theory, philosophy of history and phenomenology, Arts of Connection: Poetry, History, Epochality explores the representation of connections between events in literary, historical and philosophical narratives. Events in a story can be seen as ordered according to proximate causation, which leads diachronically from one event to the next; and they can also be understood in view of the structure of the narrative as a whole – for instance in terms of the unity of plot. Feldman argues that there exists an essential narrative tension between these two kinds of connection, i.e. between the overarching arrangement or plot that holds together events from "outside," as it were, in order to produce an intelligible whole; and the portrayal of one-by-one, "interstitial" connections between events within the narrative. Arts of Connection demonstrates, by means of exemplary moments in Aristotle and classical German poetics, eighteenth-century philosophy of history, and twentieth-century phenomenology, that the task of connection is a fraught one, insofar as the formal unity of narrative competes or interferes with the representation of one-by-one connections between events, and vice versa.

This volume has its starting point in the veritable explosion of serialized formats in all of forms representation, from painting to printing, beginning in the mid nineteenth century and the well-known fascination with series in biology, mathematics, music, art, or literature. The new media culture of the late nineteenth century, very much shaped by these serialized formats, sees itself confronted with questions of truthfulness in new and profound ways, just as perhaps the accelerated rhythm, anonymity, and broadened accessibility of new media today have created new possibilities for the dissemination of misinformation and, conversely, give us cause to interrogate anew our notions of truthfulness. By examining both the formal operations of both aesthetic and scientific objects in a series form, and the historical context of their publication or presentation, the contributions in this volume examine the often strained, but yet immensely productive relationship between the way in which a series negotiates questions of truthfulness: both by reference to the rules established in its series form or by means of its serial format. This volume provides ten detailed cases of the series form from the history of science and journalism, and the history of painting, photography, and literature as well.

To what extent does the production of art require the work of hands? And, reciprocally, to what extent does an artwork enable a tactile understanding of the world? At the beginning of the twentieth century, the meaning of hands goes beyond the simple gestures they perform: they become an agent, holding at bay technological progress and its implications for artistic creation. On the one side, the hand can itself be conceived of as a machine; often times it figures as a blueprint for technological tools and instruments. On the other side, hands appear to be outdone by the continuous rise of mechanization, challenging the need for the bodily skills and abilities. The ambiguity of the hand as simultaneously a primitive and proto-technological instrument frames the theoretical intervention of this book which investigates the hand in European modernism not as a motif but as medium. It looks at German and French case studies that address literature, sculpture, photography, film, and industrial design. As it turns out the medium "hand" allows to retrace the cultural history of the early twentieth century as an expression of the intricacies and ambiguities that the age of mechanization exhibited in the work of art.